The music of Charles Wuorinen presents listeners with a simple challenge: the closer you listen to it, the better it works. But this is a truism, isn?t it?Read more Not really. Wuorinen belongs to a generation of American composers (he was born in 1938) who place the highest value on craft. There is rarely anything flashy or sensational about his music; even his percussion music is remarkably delicate. Nor is his music merely technically impressive. Expressivity is deftly woven into the fabric of these works.

Wuorinen?s fascination with the technique of composition is reflected in the challenging instrumentation of these six chamber works from the early 1980s. All are trios, and all but one include brass. Trio for Bass Instruments, scored for bass trombone, tuba, and string bass, demonstrates the composer?s keen sense for timbral values, both dramatically (and essentially emotionally) and in terms of the relationships of differing timbres. This may seem like an obtuse way of stating an obvious musical characteristic, but it is a rare and elusive gift when expressed at this level, putting Wuorinen in the company of Stravinsky, Ravel, Tchaikovsky, and ultimately, Mozart. This is an odd grouping superficially, but all of these composers, regardless of the other elements of their styles, were keenly aware of the unique values of the sounds of different instruments, and of the catalytic effects created as the threads are woven together.

It is natural that an ensemble of low instruments would generate the subtle sparks of wit that are thrown off here. In all of the music on this program, there is an engaging sense of drama, even theatricality, that ameliorates the dense polytonal harmonic structure. In the Horn Trio, and in the Horn Trio Continued that came one year later, the energy level spikes up a few notches, nearly frenetic at times, but always remains controlled and organized. Wuorinen?s style in the Trio for Violin, Cello, and Piano is consistent with the other works, but the temperature is cooler, with a more elusive emotional appeal. As is the case, too, with the Double Solo for Horn Trio, this Trio is more interesting than it is purely entertaining.

The Trombone Trio is the most unusual work here, with the daunting textural and balance challenge of combining trombone, piano, and vibraphone. The key is limiting the dynamic range of the trombone, which has the side benefit of revealing a surprising range of subtle colors and textures from an instrument generally known for a brash insouciance. Here is a superb example of bold timbral blending as well as a sensuality that is probably not normally associated with Wuorinen. His ability to balance all of these elements in a way that does not favor any individual component marks his best work, and marks this composer as a true American master. It almost goes without saying, although it shouldn?t, that the performances by The Group for Contemporary Players, cofounded by Wuorinen and Harvey Sollberger, are outstanding.